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Wallack's Lyceum

Wallack’s Lyceum was located in Broadway near Broome Street. Its productions included original works by Pfaffians John Brougham, Stephen Ryder Fiske, and Fitz-James O’Brien. The Lyceum, run by James W. Wallack, was at one time the leading theater in New York City.

Figaro claims that he was present at a performance of Miriam's Crime at Wallack's (168). Figaro claims there is not much to say about the play "except that it is a crime to produce such a piece at Wallack's" (169). Figaro urges audiences to see Still Waters Run Deep when it is performed at Wallack's (169).

Figaro mentions that he saw Still Waters Run Deep and Ici On Parle Francais at Wallack's this week and that he was chiefly entertained by the "comedy of manners" being performed in a nearby private box. Mentions that he was amused, but sympathizes with the actors who could hear what was going on (184). Figaro mentions Wallack's as one of the theaters that constantly boasts a full house (185).

Figaro announces the plays at Wallack's during his announcements of theatrical events. He remarks that Taylor's The Serf has not been a hit and is to be replaced this evening by Colley Cibber and refers readers to the advertisement for more information (137).

Figaro reports that The Colleen Bawn at Wallack's and Arrah-na-Pogue at Niblo's are the only plays worth seeing, but since they are both "out of date," he decides not to write anything about either play (25). Figaro also reports that Dan Bryant has been so popular in The Colleen Bawn at Wallack's that it has been extended another week (25).

Wallack's opened for its fifth season Sept. 21, 1865. The "outstanding feature" of Wallack's "theatre royal of America" in 1866-67 was the production of Roberston's comedy Ours preceeded by "minor successes and quasi-failures." Improvements were made to the theater for this season (as mentioned in opening show's program note): "during the recess the house had been cleaned at renovated througout, that extra stalls had been added, the parquette and boxes newly carpeted, and 'every requisite for the comfort and convenience of the audience carefully considered'" as well as "'a new stage has been laid and other mechanical improvements effected, in order to render the production of all plays in a most complete manner'" (128). Admission prices for orchestra seats were raised to $1.50, which is what the price remained in the best theaters for the next 20 years (128-9).

Odell argues that Wallack's 1867-68 company was the strongest company yet at Wallack's and "perhaps the most brilliant for comedy and drama known up to that time in America" (269). The strong cast, however, did not play the theater at the same time; some returned, some were new, and some left after short stints (269).

Odell mentions that Wallack's was reluctant to do Saturday matinees and "was about the last stronghold to fall before the demand to Saturday matinees." Wallack's only broke its tradition of not doing them for Oliver Twist, which was a great success and brought in weekly receipts of $7,256.70 and $7,394.55 for the week with the matinee performance (273).

Lester Wallack's return brought the theater successful receipts, even though a major actress, Mary Gannon, fell ill and eventually died. Lester Wallack abolished benefits and farces this season [1867-68] from Wallacks; other theaters followed suit amid controversy (275).

Wallack's began it 17th season (its 9th in the new theater) in 1868-69 on Sept.23, 1968. Odell feels that during this season the female cast list was a rare weakness for Wallack's. The much liked lead actress Mary Gannon has died and the others on female list seemed to match former greats. Receipts for the season appear to have fluctuated (414).

The controversial Much Ado About Nothing was performed at Wallack's in the 1868-69 season. It was the first time Shakespeare was performed at Wallack's; the performance may have occurred because of the opening of Booth's Theatre. Much Ado About Nothing was an extravegant production and was the last time Wallack's did Shakespeare until 1880 (416-419).

The 1869-70 season brought sense of competition from Booth's Theatre (founded the year before) and Daly's Fifth Avenue Theatre, which would soon become a theatrical force (559).

Founded in 1852 by J.W. Wallack the elder at the former site of Brougham's Lyceum (48). Became a "great institution" for the next 36 years. The founding of the theater managed to destroy Burton's company and theatical prestige - the management and actors in Burton's company moved to Wallack's. Odell describes the founding of Wallack's as one of the most important events in the history of the NY stage.

Wallack's first theater opened Sept. 8, 1852. Odell says that "immediately on getting into a file of Wallack programmes one realises that one has entered a realm where beatuy and elegance almost invariably prevai" (213). The productions at Wallack's were carefully planned and managed and the quality of actors and plays was always high and excellent. Odell claims, "Nothing like Wallack's Theatre, I am convinced, had existed in New York presiously to 1852; nothing quite like it existed after 1880." Odell makes this claim while also recognizing more contemporary respected theaters (213).

The lobby and decorations of Wallack's were elaborate and included frescoes done by Harvest and Youngling (who also did the Metropolitan Hotel and received positive reviews). Lester Wallack (John W. Lester) was listed as stage manager and Charles Wallack, his brother, as treasurer. The listed staff also included fifteen band members. Admission to the parquet and dress circle was $.50, to the family circle $.25, orchestra seats $.75, private boxes $5-7. Performances began at 7:30 (213).

Boucicault's Love in a Maze was staged both at Wallack's and at Burton's on Sept.5, 1853 (286). Wallack's Second season began Sept. 5, 1853, with "a 'theatre re-gilded and re-painted,' new 'cushioned seats covered with crimson cut velvet,' 'handsome mirrors in the boxes,' a 'complete system of ventilation' including a 'large opening at the back of the parqette, a withdrawing room, with a large French window, at the back of the dress-circle, and in the roof above the family circle a large shaft or cupola, 15 by 11 feet, producing a thorough current air through the house'" (295). New prices: $.50 dress-circle or parquette, $.25 for the family circle, $1 stall seats, $6-7 box seats (295). The company remained largely the same in the second season.

Odell mentions that "fashion was revived at this time also at Wallack's" in the 1854-55 season in response to trends in the theater (354). J.H. Stoddart remarks on his first appearance in America during the 1854-55 season that the company of Wallack's "had become, by long association, the finest band of actors concievable. 'I do not think,' says Stoddart,'the old comedies were ever better played'" (359).

W.R. Blake left Wallack's in the 1855-56 season to manage for Marshall (424). Odell calls the company of the 1855-56 season "one of the most glorious companies I have yet recorded in this chronicle" (441). J.W. Wallack seems to have lost managerial control of the theater some time during the 1855-56 season (446). Brougham leaves in 1855-56 to direct the failing Bowery (461).

The Theatre was leased to W. Stuart in the 1856-57 season (Stuart is best remembered for being connected to the Winter Garden later on). In 1856 he "rechristened Wallacks the Summer Garden" and had a decent summer season. No one knows why Wallack temprorarily retired; Odell speculates hard times but also notes that there's some evidence of illness. Lester Wallack remained during this period as stage manager and "leading juvenile." Season marks debut of Sothern under his own name and return of Blake (529-30). J.W. Wallack returned Oct. 20, 1956, with a revival of Hamlet (531).

The theater had highly elaborate lease terms under William Stuart who contracted with J.W. Wallack. The terms of performances were very specific and Odell lists the staff salaries (19). Management of Wallack's was resumed by J.W. Wallack after a two-year break during the summer season of 1858. Stuart seems to have had a long-term connection to the theater.

Wallacks was regarded as the leading New York theater (and possiblty the leading American theater) during the 1859-60 season. Wallack's was usually family-run.

The last season at the Broome Street location was 1860-61. Wallack's moves uptown to Broadway and 13th. The theater closed early in 1861 with a series of benefits because of the war. The new theater opened in the 1861-1862 season. The new Wallack's was very large - the theater was leased in part on 10 lots owned by William B. Astor. This lease was for 20 years. "The site was so large that the theater could be built with comfort for all." The new seating capacity exceeded Broome St. by 1000+ seats. "[...]the last word of elegance was expressed in the architecture, the furnishings, the lobbies, and lounging rooms. For the twenty years of its existence Wallack's on this site was unquestionably the leading theater of the country, maintaining the best stock company conceivable, and presenting plays with an elegance and a distinction unattainable in any other American establishment." Opened Sept.25,1861 (377).

Wallack's was described as the "perfect theater" in 1862-1863 (462) and seems to have been unparalleled. The old theater reopened in the 1862-1863 season as a home for a season of German opera. Old Wallack's becomes known as the New Idea and collapses in August 1863, but reopens the next month as the New York Theater. Entertainment there seems to have been stale and derivative - ballets, pantomimes, etc. Reopened again that Nov. as the Broadway Amphitheater.

Rosedale, or, the Rifle Ball became a company/theater standard, especially for Lester Wallack.

The popularity of Wallack's seems to wane in the 1864-65 season; the crowds are less fashionable, unrefined, seats are sold to speculators right before opening night. These events are a change from sold out opening nights in the past (625).

Lester Wallack's Romance of a Poor Young Man is still playing at Wallack's (3). Personne also reports that Mr. Wallack is "getting mercenary" in terms of controlling the audience so that the paying customers enjoy the show (3).

Personne mentions the leap from the tower that is an important plot point of Romance of a Poor Young Man (3). Personne reports that Fanny Morant, the comedienne at Wallack's, has married a man named Smith (3).

Personne writes that Wallack's Poor Young Man continues to make his "gymnastic sacrifice." Personne compares the staging of Lester Wallack's adaptation to the original (Le Roman d'un Jeune Homme Pauvre) at the French Theatre (3).

Personne reports that Mr. and Mrs. W.J. Florence will be at Wallack's for the Summer season. Personne reports that Brougham will not be performing at Wallack's after this season (2). Personne also reports that Tom Taylor's Overland Route will be performed next at Wallack's (2).

Personne notes that Wallack's is presenting Buckstone's The Wreck Ashore. Personne reprints a letter to the Editor of the Saturday Press from Gayler about Many a Slip 'Twixt the Cup and the Lip, performed at Wallack's the previous summer (2).

Personne reports that Les Crochets de Pere Martin, originally performed by the Florences at Wallack's and titled There's Many a Slip Twixt the Cup and the Lip, can now be seen at the French Theatre. Personne reports that Miss Walcot's translation of Les Deux Aveugles called Going it Blind is currently at Wallack's (3).

Quelqu'un claims that the young man who takes issue with his argument that de Walden's Aileen Aroon "was the best play produced this season" has argued in favor of Playing with Fire. Quelqu'un agrees that Playing with Fire is a good peice, but still favors Aileen Aroon (3).

Quelqu'un reports that the "young and popular artists" at Wallack's have announced that they cannot stay in New York any longer and the theater has been forced to "announce their eighteen last nights" (3).

Reports that Florence will be doing "Toodles" at Wallack's (3). Reports that he has "issued a card" that states he will be opening for the Fall and Winter and will not be "giving up future management" (3).

The company produced "Henriette," more widely known as "A Scrap of Paper," "the most charming of Sardou's comedies" (known in the French as "Les Pattes des Mouche"), as a result of the efforts of Wilkins to bring the play to American audiences (88).